{"version":"1.0","provider_name":"Partitura Organum","provider_url":"https:\/\/partitura.org","author_name":"admin","author_url":"https:\/\/partitura.org\/index.php\/author\/admin\/","title":"Paul Siefert (?), Fantansia Septimi Toni ex G - Partitura Organum","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"l9CVUCroiU\"><a href=\"https:\/\/partitura.org\/index.php\/paul-siefert-fantansia-septimi-toni-ex-g\/\">Paul Siefert (?), Fantansia Septimi Toni ex G<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/partitura.org\/index.php\/paul-siefert-fantansia-septimi-toni-ex-g\/embed\/#?secret=l9CVUCroiU\" width=\"600\" height=\"338\" title=\"&#8220;Paul Siefert (?), Fantansia Septimi Toni ex G&#8221; &#8212; Partitura Organum\" data-secret=\"l9CVUCroiU\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2024\/04\/Anon-Fantasia-10.jpg?fit=995%2C635&ssl=1","thumbnail_width":995,"thumbnail_height":635,"description":"Like most of the fantasias from manuscript Becker II.2.51 the Fantasia Septimi Toni ex G is structurally divided into three sections or episodes. Though the music flows uninterrupted, it is easy to recognize when a new section begins. Each section is build on it&#8217;s own theme or motif and in each section Siefert weaves a dense counterpoint, even though there are only three parts. There hardly is a bar where not one of the themes is heard. I particularly like the middle section, where the theme (in this section two and a halve bars long) tumbles over itself in the different voices creating a very nice effect. The recording was done with the sampleset, made by Sonus Paradis, of the Transept organ in the Laurenskerk, Rotterdam (http:\/\/www.sonusparadisi.cz\/en\/organs\/major-european-schools\/rotterdam-laurenskerk-transept-organ-a.html). Score Siefert (?), Fantasia septimi toni ex G Performance"}